The Secret History of the World

by Mark Booth

  These doctrines are often overlooked and disregarded by modern Christianity, but what Church leaders have been actively determined to suppress — what has been reserved for esoteric teaching — is that different orders of angels are to be identified with the gods of the stars and planets.

  Though it hasn’t filtered down to the wider congregation, modern biblical scholarship acknowledges that the Bible contains many passages that should be understood as referring to astronomical deities. For example, Psalm XIX says: ‘He set a tabernacle for the Sun, Which is as a bridegroom coming out of his chamber, His going forth is from the end of heaven, And his circuit unto the ends of it.’ Study of this passage in conjunction with comparative texts from neighbouring cultures reveals that it describes the marriage of the sun to Venus.

  The Four Cherubim in Ezekiel’s dream in Raphael’s painting.

  The combination of the Cherubim — the ‘Tetramorph’ — in Hindu mythology.

  A passage like this might be dismissed as incidental to the main theological thrust of the Bible. You might suspect it of being an interpolation from a foreign culture. But the reality is that after layers of mistranslation and other types of obfuscation have been removed, the most important passages in the Bible can be seen to describe the deities of the stars and planets.

  The four Cherubim are among the most powerful symbols in the Bible, appearing in key passages in Ezekiel, Isaiah, Jeremiah and Revelation. Popular in Hebrew and Christian iconography, prominent in Church art and architecture everywhere, they are symbolized by the Ox, the Lion, the Eagle and the Angel. In esoteric teaching these four Cherubim are the great spiritual beings behind four of the twelve constellations that make up the zodiac. The proof of their astronomical identities lies in the imagery associated with them: Ox = Taurus, Lion = Leo, Eagle = Scorpio, and Angel = Aquarius.

  This fourfold pattern of symbolism regarding the constellations is repeated in all the world’s great religions. But for the most important and telling example of polytheism in Christianity we must return to the story of the creation as it is told in Genesis and the Gospel of St John.

  Genesis 1:26 is usually translated as ‘In the beginning God made heaven and earth’, but in fact any biblical scholar will admit, even if only when pressed, that the word ‘Elohim’ here translated as ‘God’ is plural. The passage properly reads ‘In the beginning the gods made heaven and earth’. This is a rather puzzling anomaly that clergymen outside the esoteric tradition tend to turn a blind eye to, but inside this tradition it is well known that what is being referred to here are astronomical deities

  We can discover their identity, as I have suggested, by matching the passage in Genesis with the parallel passage in the Gospel of St John. ‘In the beginning was the Word, and the Word was with God and the Word was God… All things were made by him… And the light shineth in the darkness and the darkness comprehended it not.’

  This parallel is helpful because John did not newly mint the phrase [the Word]. He was referring to a tradition already ancient in his lifetime, and which he evidently expected his readers to understand. Some four hundred years earlier Heraclitus, a Greek philosopher, had written ‘the Logos [i.e. the Word] was before the Earth could be’. The important point here is that according to ancient tradition the Word that shone in the darkness in John’s gospel — and so we now see, the gods who ‘let there be light’ in Genesis — are the seven great spirits who work together as the great spiritual influence emanating from the sun.

  Thus both Old and New Testaments allude to the role of the Sun god in creation as it was generally understood in the religions of the ancient world. Depiction of Apollo from a Roman sculpture. In the ancient world the Sun god was typically depicted emanating seven rays, as a mark of the seven sun spirits that make up his nature. In the Egyptian Book of the Dead they are called the Seven Spirits of Ra and in ancient Hebrew tradition as the Seven Powers of Light. Exactly the same Sun-god imagery is used to depict Christ in the very earliest Christian art, here in a mosaic of the third century in the Vatican grottes.

  THE SECOND GREAT ACT IN THE DRAMA of creation comes about when the seven-fold Sun god arrives in order to rescue Mother Earth from Saturn.

  In the eye of imagination the Sun is a beautiful and radiant young man with a leonine mane. He rides a chariot and he is a musician. He has many names — Krishna in India, Apollo in Greece. Arising in splendour in the midst of the storm, he pushes back the darkness of Saturn until Saturn becomes like a giant dragon or serpent encircling the cosmos.

  The Sun then warms Mother Earth into new life, and as he does so, he gives vent to a great, triumphal roar that reverberates to the outer limits of the cosmos. The roar causes matter in the cosmic womb to vibrate, to dance and form patterns. In inner group esoteric circles this process is sometimes known as ‘the dance of the substances’. After a while it causes matter to coagulate into a variety of strange shapes.

  What we are seeing here, then, is the sun singing the world into existence.

  The Sun-Lion is a common image in ancient art. Whenever it appears it refers to this early stage in the mind-before-matter account of creation. A magnificent re-telling of the history of the Sun-Lion in the act of creation was written as late as the 1950s. It comes in the prequel to The Lion, the Witch and the Wardrobe, called The Magician’s Nephew. Something that non-esoteric schools of literary criticism have missed is that the work of C.S. Lewis is steeped in Rosicrucian lore. In his story the Sun-Lion is called Aslan:

  In the darkness something was happening at last. A voice had begun to sing. It was very far away and Digory — the first child to explore Narnia — found it hard to decide from what direction it was coming. Sometimes it seemed to come from all directions at once. Sometimes he almost thought it was coming out of the earth beneath them. There was hardly even a tune. But it was, beyond comparison, the most beautiful voice he had ever heard. It was so beautiful he could hardly bear it… The eastern sky changed from white to pink and from pink to gold. The Voice rose and rose, till the air was shaking with it… The Lion was pacing to and fro about that empty land and singing his new song. And as he walked and sang the valley grew green with grass. It spread out from the Lion like a pool. It ran up the sides of the hills like a wave.

  What the teachers of the Mystery schools meant to indicate by the victory of the Sun god was the momentous transition from a purely mineral cosmos to a cosmos burgeoning with plant life.

  In the earliest and most primitive form of plant life according to the Mystery tradition, single germs were joined together in vast floating structures like webs that filled the whole universe. In the Vedas, the sacred books of India, this stage of creation is described as ‘the net of Indra’, an infinite net of luminous, living threads, perpetually interweaving, coming together like waves of light then dissolving again.

  Time passed and some of these threads began to weave together more permanently, the light streams dividing into tree-like forms. An imaginative impression of what this was like can perhaps be got by remembering what it was like, as a small child, to visit a great hothouse like the ones that Alice Liddell, the girl who inspired Alice in Wonderland, liked to visit at Kew Gardens. Great tendrils stretch everywhere. Here are humid mists and a sunny, luminous greenness.

  If you were able to land in the midst of all of this and if you sat on one of the great green branches stretching out of sight, and if this great branch on which you were sitting suddenly stirred, you would have an experience like a hero in a fairy story sitting on a rock that moves and reveals itself to be a giant. Because the vast vegetable being at the heart of the cosmos, whose soft and luminous limbs stretched to all four corners of it, was Adam.

  This was Paradise.

  Because there was as yet no animal element to the cosmos, Adam was without desire and so without care or dissatisfaction. Needs were satisfied before they could even be felt. Adam lived in a world of endless springtime. Nature yielded an unending supply of food in the form of a
milky sap, similar to that which we find in dandelions today. Memorials to this blissful satiation have come down to us in statues of the many-breasted Mother Goddess.

  From a thirteenth-century manuscript. Adam stretched to the corners of the cosmos.

  A comparison of this with the famous drawing by Leonardo reveals a layer of meaning often missed. Adam literally occupied the whole cosmos.

  As time went on the plant forms became more complex, more like the plants of today. Again, if you had been able to see this time in the history of the cosmos with the physical eye, you would have been struck by the myriad fluttering, palpitating flowers.

  We have suggested that the secret history of the creation shadows the scientific history of creation in intriguing ways. We have just seen, for example, how a purely mineral stage of existence has been followed by a primitive plant stage, followed by an era of more complex plants. But there is a vital difference I must draw to your attention. In the secret history not only is it true to say that what eventually evolved into human life passed through a vegetable stage, but the vegetable element remains an essential part of the human being today.

  If you removed the sympathetic nervous system from the body and stood it up on its own, it would look like a tree. As one of Britain’s leading homeopathic healers put it to me, in a rather beautiful phrase: ‘The sympathetic nervous system is the gift of the vegetable kingdom to the physical body of man.’

  Esoteric thought all over the world is concerned with the subtle energies that flow round this vegetable part of the body and also with the ‘flowers’ on this tree, the chakras which operate, as we shall see, as its organs of perception. The great centre of the vegetable component of the human body, feeding on the waves of light and warmth radiating from the sun, is the chakra of the solar plexus — called ‘solar’ because it was formed in this, the era controlled by the sun.

  Awareness of this vegetable element in the human body has remained greatest among the peoples of China and Japan. In Chinese medicine the energetic flow of this vegetable life force, called chi, is understood to animate the body, and disease arises when the delicate network of energies becomes blocked. The fact that the flow of this energy is undetectable by modern, materialistic science, the fact that it seems to operate in some elusive realm between the human spirit and the meat of the animal body, does not make the medicine any the less effective, as generation upon generation of patients attest.

  Germanic sun-idol. Engraving of 1596. J. B. van Helmont, an important alchemist and scientist who will feature later in this history, called the stomach ‘the seat of the soul’.

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  Hindu illustration of the seven major chakras and, for comparison, illustration by Johann Gichtel to the writings on chakras by the seventeenth-century Christian mystic Jacob Boehme.

  As well as in medicine, the Chinese and Japanese tend to lay great emphasis on the role of the solar plexus in spiritual practice. If you contemplate a statue of a meditating Buddha, you will see someone who has gathered himself inward, and that the centre of this meditation, his centre of mental and spiritual gravity, is his lower belly. This is because he has withdrawn from the rigid, deadly mentality of the brain and sunk down into the centre within himself — sometimes called the hara — that is connected with all life. He is concentrating on becoming more aware of being alive, of his unity with all living things. ALTHOUGH THE IDEA OF CHAKRAS HAS become popular in the West because of an influx of oriental esoteric thought, the chakras are also central to the Western esoteric tradition and can be seen in both Egyptian and Hebrew thought. And just as Christianity contains a hidden tradition of gods of the stars and planets, so it also contains a hidden tradition of the chakras.

  The organs of the vegetable body are situated in nodes up and down its trunk. They are made up of different numbers of petals — the solar plexus chakra, for example, having ten petals and the brow chakra having two petals. The seven major chakras — situated at the groin, solar plexus, kidneys, heart, throat, brow and crown — feature in the seventeenth-century writings of Jacob Boehme and, as we will see later, in those of his near-contemporary, the Catholic Saint, Teresa of Avila, where they are called ‘the eyes of the soul’.

  Moreover, on closer inspection the Bible itself can be seen to contain many coded references to the chakras. The ‘horns’ with which Moses has traditionally been depicted are explained away by conventionally minded Christians as the result of a misunderstanding based on a mistranslation. But in the esoteric tradition these horns represent the two petals of the brow chakra, sometimes called the Third Eye. The flowering rod of Aaron refers to the activation of the chakras, the opening of the subtle flowers up and down the subtle tree. In the final chapter we will see how in Revelation the account of the opening of the seven seals is in fact a way of talking about the enlivening of the seven chakras, and predicting the great visions of the spiritual world that will result.

  The almond shape that surrounds this vision of Jesus, called the vesica piscis, is derived from the Egyptian hieroglyph called the Ru, which symbolized the birth-portal and also the Third Eye, or brow chakra. What is intended by the masons who carved this device on a church at Alpirsbach, Germany, is that you can have direct experience of and communication with the great spiritual beings by activating the Third Eye. It is extraordinary to consider that Christian art and architecture all over the world commonly features a representation of the Third Eye, unrecognized by the great majority of Christians.

  THE PINEAL GLAND IS A SMALL GREY gland, the size of an almond, which is situated in the brain where the spinal chord reaches up into it. In esoteric physiology, when we have a hunch, our pineal gland begins to vibrate, and if spiritual disciplines are used to increase and prolong this vibration, this may lead to the opening of the Third Eye, situated, of course, in the middle of the brow.

  The Third Eye as a uraeus snake in an Egyptian wall carving.

  Man meditating on the pineal gland, taken from a drawing by Paul Klee with Hindu depiction of the same for comparison.

  Modern anatomists only ‘discovered’ the pineal gland in 1866, when two monographs were published almost simultaneously by H.W. de Graaf and E. Baldwin Spencer. Later it was discovered that the pineal gland is large in children and when the crystallization of various body parts happens around puberty — that is to say when we naturally become less imaginative — the pineal gland begins a process of calcification and also shrinks. Scientists now know that melatonin is a hormone, most of which is produced by the pineal gland, mostly at night. Melatonin is essential for the rhythm of waking and sleeping and the maintenance of the immune system.

  If modern science discovered the pineal gland relatively late, the ancients certainly knew of it very early on, and also believed they understood its function. They knew, too, how to manipulate it to achieve altered states. The Egyptians clearly depicted it as a uraeus snake and in Indian literature it is shown as the Third Eye of Enlightenment, or the Eye of Siva. It was depicted as the pine-cone-topped wand of the followers of Dionysius, and a fourth-century BC Greek anatomist described it as ‘the sphincter which regulates the flow of thought’.

  They saw the pineal gland as an organ of perception of higher worlds, a window opening on to the brightness and wonder of the spiritual hierarchies. This window could be opened systematically by meditation and other secret practices which gave rise to visions. Recent research at the University of Toronto has shown that meditating on the pineal gland using methods recommended by Indian yogis causes it to release a rush of melatonin, the secretion that causes us to have dreams and, in sufficient dosages, can also cause waking hallucinations.

  Artists such as Peter Breugel, Henri Met Des Bles and, here, Hieronymus Bosch often depicted proto-human creatures of pink, waxy-bone. Art critics have not until now discovered the source of these images.

  RETURNING TO THE CREATION NARRATIVE and the great imaginative images encoded within Genesis, we see that Adam’s body had at first been very s
oft and amorphous, his skin almost as delicate as the skin on a pond, but now it began to harden. As the great Christian mystic and Rosicrucian philosopher Jacob Boehme wrote in Mysterium Magnum, his commentary on Genesis, ‘what would in time become bone now hardened and became something closer to wax’. Warmed by the sun, his green limbs also began to become tinged with pink.

  As Adam solidified he also began to divide into two, that is to say he was an hermaphrodite who reproduced in an asexual way. When pressed, any scholar of biblical Hebrew will have to admit that Genesis 1.27, the passage usually translated ‘Male and female He created them’, properly reads ‘Male and female they [i.e. the Elohim] created him [singular]’.

  So, it was by this plant-like method of reproduction that Eve was born out of Adam’s body, moulded from the waxy cartilage which served Adam for bone.

  The progeny of Adam and Eve also reproduced asexually, procreating by using sounds in a way that was analogous to the creative activity of the Word. This episode in history is related to Freemasonic lore pertaining to ‘the Word that has been lost’, the esoteric belief when in the far future this Word is rediscovered, it will be possible to impregnate using only the sound of the human voice.

  The separation of the earth and sun in a seventeenth-century English print, illustrating the writings of Robert Fludd, an eminent Rosicrucian scholar traditionally believed to have been one of the board employed to translate the King James Bible.

  Adam, Eve and their progeny did not die, but now and then they merely went to sleep in order to refresh themselves. But the lotus-eating state of the Garden of Eden could not go on forever. If it had done, humanity would never have evolved beyond the vegetable stage.